The Second Mother is an interesting look at generational and class divides in Brazil, without the feel of a lecture or lesson.

Moss and Waterston are incredible, and even though Queen of Earth is purposefully not a readily digestible film, they keep it intensely interesting.

Phase II has some nice comic touches, but it's a forgettable B-movie.

A story of companionship, loneliness, resilience. It's a small, artfully crafted thing, but it resonates in big ways.

Until Steak(R)evolution gets repetitive, it's fascinating to see how everything, from culture to politics, affects what we eat and how we eat it.

Isn't the whole handheld "real-video" thing kind of old by now? Isn't the Shyamalanian-twist thing kind of old by now, too?

Chloe & Theo is a mess of a message movie, simplistic, sappy, silly.

There are some terrifically strong scenes and terrific actors contributing to them.

Brings home the complexities and contradictions of the man.

There are the bare bones of a plot, but the true purpose of this animated feature is to highlight Gibran's poetic essays, recited sonorously by Liam Neeson.

Digging for Fire, like last year's "Happy Christmas" (also with Kendrick) and 2013's "Drinking Buddies" (with Johnson and Kendrick), is not a film for fans of taut, crafted dialogue and definitive endings. Conversations drift and weave, as do the people having them. Narcissistic melancholy dukes it out with beer-and-pot-stoked merriment. There is longing. There is foolhardiness.

Although Mistress America is very much a New York movie, full of references to couture, pop culture, boutique hotels (to Antigone and Faulkner, too), its comic centerpiece is a brazen assault on a country compound.

Unsullied was made by a director with real promise. It's a shame Rice picked this turkey to shoot as his first

Like "Compliance," Z for Zachariah shows how terrifying and redeeming interpersonal relationships can be. We crave human contact, yet it can still destroy us, even at the end of the world.

Perhaps it's for the best that We Are Your Friends doesn't try to appeal to anyone outside its stars' own kind. Fewer people will have to see it.

A taut thriller about an American family touching down in an unnamed country just as a violent coup erupts, No Escape goes about its gut-churning business by playing (and preying) on our worst xenophobic tendencies.

Rosenwald tells the remarkable story of a remarkable man.

An honest and personal and unblurred examination (even through that druggy blur) of a tricky voyage into womanhood.

If you strip away all the gunplay, Hitman: Agent 47 would be about 10 minutes long.

A loving ode to screwball comedies from the Golden Age of Hollywood that never approaches the films it pays homage to.

Best of Enemies offers a bracing view of a pivotal time in our recent history, as Vietnam and race riots scarred a nation's soul, and as the Establishment and the Counter Culture exchanged epithets and blows.

Comparisons to HBO's "Girls" will abound, but Fort Tilden has a more satirical bent than Lena Dunham's much-talked-about show.

A lot of energy and effort has gone into this endeavor, and I can't say some of it's not fun. But more of it, alas, is just tedious. Say uncle already.

There is intrigue. There is suspense. Guilt - a man's guilt, a nation's - hangs heavy in the air.

We're in the company of a great character here, with a lot on his mind, a lot to say.

Riley's film brings the American icon's career back into sharp focus.

Finally - and the news should really come as a relief - here is a role Streep should not have tried, in a movie that should not have been made.

It's overstating things to say the stars of Fantastic Four are Miles Teller, Kate Mara, Michael B. Jordan, and Jamie Bell, because I can't remember the last time four actors appeared less invested in a movie for which they've teamed up.